SKU: A0.915447

ARRANGEMENT OF THE ORIGINAL OLD-TIME SERENADE THAT WAS ADOPTED WITH NEW TITLE AND LYRICS BY ELVIS PRESLEY IN 1956 AS LOVE ME TENDER. THIS ARRANGEMENT IS BASED ON THE ORIGINAL 1861 VERSION AND INCLUDES SOME REVISED AND ALSO SOME NEW LYRICS -- AND IS ARRANGED TO IMITATE A COLLEGIATE GLEE CLUB OF THE LATE 1800’S. LYRICS BY W. W. FOSDICK WITH REVISIONS AND ADDITIONS BY CLAY BOLAND JR. MUSIC BY GEORGE POULTON.

SKU: XB.DNLB01475D

Original key. D major [Solo vocal range: D4-B4].

SKU: A0.719076

TTBB A Cappella arrangement.
Original Christian lyrics.

SKU: S9.Q8444

Key: E major. German.

Mendelssohn vertont den berühmten Eichendorff-Text Wem Gott will rechte Gunst erweisen mit einer eigenen Melodie, als schwungvollen vierstimmigen Chorsatz mit vielen punktierten Rhythmen und bewegten Achteln im Dreivierteltakt. So entsteht eine wirkungsvolle romantische Originalkomposition, die sich in Chorkonzerten sehr gut mit einem beliebigen Volksliedsatz über den gleichen Text kombinieren lässt und so einen interessanten Vergleich ermöglicht. Sehr eindrucksvoll, wie Mendelssohn die Textstelle Den lieben Gott lass ich nur walten ausdeutet: er ändert die Taktart (4/4-Takt) und zitiert den Choral Wer nur den lieben Gott lässt walten. Interessante Repertoire-Ergänzung für alle Männerchöre.

SKU: A0.865862

'All the Young Dudes' is a fun period piece and a mid-tempo glam rock classic from the early 1970s, originally sung by Mott the Hoople but made more famous by David Bowie. The lyric is partly about being young and free, and partly about gender. and being a ‘dude’. It tells the story of several 'dudes' and celebrates what they get up to. Like many Bowie lyrics, it is double-edged, and the melody is catchy and fun to sing.

Originally sung by the New York City Gay Men's Chorus, the arrangement sticks closely to the original groove and form, and is designed for an intermediate level group. There is also a solo for a Baritenor with pop sound.

SKU: A0.928364

This arrangement was originally written for The Dreamers of Phi Mu Alpha a cappella group at Penn State University. It is a TTBB arrangement with a tenor lead vocal written in the style of the original 1959 recording of the song by The Clovers. It is extremely accessible for singers new to doo wop or contemporary a cappella singing. There is an optional improvised vocal saxophone solo during the second bridge that could be simply sung with the original lyrics instead. Bass range is E2 to A4. Tenor 1 range is C4 to G#4 (falsetto). www.thomasjwestmusic.com

SKU: A0.898554

Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !

Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II).

This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses printed below: solo chant, even verses: choir). The first four verses form a complete anthem and the last two verses are suitable as a Communion anthem, or all six may be sung.

The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA English version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.

Also available as an organ solo or in Latin. SATB Latin/English versions coming soon!

SKU: A0.898552

Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !

Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II).

This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses, printed below: solo chant, even verses: choir). For a complete translation of the six Latin verses, refer to the next page. In the music’s text, I have retained all accent marks as found in the Liber Usualis. These should help inform text stress. The last two verses are suitable as a Communion anthem.

This SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.

Also available as an organ solo or in English. SATB Latin/English versions coming soon!

SKU: A0.774735

Beds are Burning is a powerful and immediately recognisable song by the Australian band Midnight Oil. It was written by band members Peter Garrett, Jim Moginie and Rob Hirst in 1987 following the band’s Blackfella-Whitefella tour of indigenous communities in outback Australia during 1986.

Following its release, the song peaked at No. 1 in Canada, New Zealand and South Africa, at No. 6 in Australia and the UK, and reached the top 20 in America.

in 1988 Beds are Burning was named ARIA Song of the Year and remains a powerful and recognisable anthem three decades after its release. Its enduring appeal was also recognised when the Australian Performing Rights Association (APRA) placed it third in their Top 30 Australian Songs of all time poll, revealed in 2001 to celebrate the copyright agency’s 75th anniversary.

Beds are Burning focused on the issue of Aboriginal land rights. The words it belongs to them, let’s give it back put reconciliation front and centre on the domestic agenda as Australia prepared to mark its Bicentenary in 1988.

This arrangement of Beds are Burning, features piano accompaniment, guitar chords and body percussion

SKU: A0.793921

This arrangement is based (some parts are reduced) on one of most popular Liszts pieces for solo voice and piano. It's written in G major, with modulation in B flat major (also available inoriginal key: F-major, and modulates in A flat major.) An arrangement is written for male four-part ensemble (TTBB), a cappella (also available for SATB and SSAA).

Lyrics: english (available in german, too)

Duration: ca. 2:45

The score contains 10 pages

The sound sample is an electronic preview

SKU: A0.1035477

This is an arrangement written for TTBB barbershop groups. This arrangement is primarily based on the original recording of this song, as heard in The Wizard of Oz, but in the final verse incorporates some changes that were introduced in the brilliant cover by Eva Cassidy. Duration c.4:00. Designed for use in barbershop contests. Originally arranged for Harmony InSpires. Visit https://www.facebook.com/SamHubbardVocalArrangements/ for more information.

SKU: A0.1022925

Fun and exciting, this arrangement is full of harmonic and rhythmic changes while keeping the original tune. It is easy for an experienced and not experienced ensemble and will keep the audience engaged and interested with the beautiful harmonies.
*Purchase one copy per member of the ensemble to keep in accordance with U.S. copyright laws*

- This was originally arranged for PLNU's male a cappella group, Pointless and is featured on their album, Cruisin'.

SKU: A0.865867

Originally a massive rock anthem in the early '80s, Don't Stop Believing re-emerged in the 2000s thanks to the TV show 'Glee', which re-established the song as a timeless classic that resonates across the generations. It tells the all-American story of the small-town boy who never gives up, and starts with that guitar solo.

This upbeat TTBB arrangement sticks largely to the original rock textures but includes extensive nods to a cappella vocal textures. Suitable as a energetic and potentially spectacular show opener or singalong.

SKU: A0.879028

Originally by The Original Broadway Cast of Mean Girls (Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell).

Arranged for 4-part TTBB a cappella (alternate voicings may be made available if requested). Notated in the barbershop style (T-L-Br-Bs). Minimum purchase quantity enforced by ArrangeMe is 10 copies. Please ensure you purchase enough copies for your ensemble. Contact for complete list of arrangements and commissions: gsmallett@rogers.com.